SB1 - Study Task 5 - Exhibit PAGES: FUTURE PRESENT

Having visited the curator's talk at the Tetley Gallery, we were given the opportunity to view some artist's book from the archive in more detail. There were two books that I picked out in-particular for their contrasting use of the book vehicle. 

The first book was this encyclopaedia of boats, using the vehicle of a book as an educational tool for teaching the alphabet. For me it was interesting to see an alphabet book that challenges conventional teaching tools. The monochromatic approach allows the book to focus primarily on the shape and silhouettes of the boats, teaching not just the alphabet but a wider knowledge of boats. While digitally printed, the illustrations foster a lino-cut aesthetic, demonstrating the ability of books to work as catalogues of more laborious processes. Perhaps the book becomes the vehicle by which artists can share their work in multiples, yet maintain the crafted approaches employed in individual illustrations. Dodds' picturebook with a hardback, linen cover and thick, quality stock, felt like an object of craft as well as a communicative device. Working with hand bookbinding techniques seems to establish a lovely sense of the 'hand of the maker' elevating the book from a commercialised outcome to a crafted artist's book. 

The second book I saw in the archive was this tiny picture-book. Untitled and unnamed there is no textual context, yet the delicate and sensitive illustrations achieve a clear sense of narrative through their fragility and textural qualities. The crafted dimensions of this book employ windows and cut outs to allow an interplay between pages. On very thick, textural stock, the watercolour achieves a real sense of fluidity and gentleness and this works in conjunction with the cut-out windows to achieve a continuous and flowing narrative and aesthetic. 

The book cover seemed to be made of balsa, which only enhanced the crafted aesthetic of the book, maintaining the sensitivity and softness of the tone of voice, and elevating it to an object of craft. 

The curatorial decision to display these books in a chest with many drawers, introduced a sense of preciousness and secrecy, enhancing the status and mysticism of these artist books, something which is a contributing element to their communicative powers and intrigue. It seems that the ability to connect tangibly with these books works in their favour since the audience can connect with their dimensional qualities and textural curiosities. It therefore seems more appropriate to view artist's books within a free environment rather that confining them within the rigidity of a conventional gallery space.